The "white" refers to the even distribution of wavelengths in white light, with a particular meaning in the audio or DSP sense: that the power of the noise is distributed evenly over all frequencies, between 0 and some maximum frequency which is typically half the sampling rate. Wisniewski on the "Colors of Noise", including white, pink, orange, green . A straightforward example would be that there is as much noise power in the octave 200 to 400 Hz as there is in the octave 2,000 to 4,000 Hz.

For instance, white noise at a sampling rate of 44,100 Hz will have as much power between 100 and 600 Hz as between 20,000 and 20,500 Hz. Consequently, it seems, our ears tell us that this is a "natural" even noise. Wentian Li maintains a formidable bibliography on 1/f noise at: However, prior to me creating this page, it mentioned nothing to do with generating 1/f noise with Digital Signal Processing techniques.

Analytical grade specifies exactly its strength and the tolerance for that specification, as well as noting the maximum permissible levels of the most important contaminants.

Such parameters would be "i" rate: set at the start of the ugen's instantiate, not changeable over time.

2007 January 22: Updated the link to Larry's material. 2011 March 20: Added link to Henning Thielemann's paper Robin Whittle [email protected] Most of this material is written by other people, especially Allan Herriman, James Mc Cartney, Phil Burk and Paul Kellet – all from the music-dsp mailing list.

Standard Csound (after version 4.07) has a "pinkish" opcode which generates pink noise or filters external white noise to make it pink. (Also at this site, Martin Saxon's description of the various weighting schemes for measuring noise: In the natural world, there are many physical processes which produce noise with what is known as a "pink" distribution of power.

This was written by Phil Burk and John ffitch, and is documented here: A stream of random numbers constitutes "white" noise – if listened to as an audio signal. "Pink" noise has an even distribution of power if the frequency is mapped in a logarithmic scale.Below the algorithms is Allan Herriman's graphical analysis of the response of these three filters.The first description I am aware of is from Robert Bristow-Johnson has been updated on several occasions and now (1999 October 17) contains two implementations, located here: is "is accurate to within /-0.05d B above 9.2Hz (44100Hz sampling rate)." 2011-03-20 update: the music-DSP archives are at: several items relating to pink noise, but I am not sure which of these, if any, are the referred to above.Since power is proportional to amplitude squared, the energy per Hz will decline at higher frequencies at the rate of about -3d B per octave.To be absolutely precise, the rolloff should be -10d B/decade, which is about 3.0102999 d B/octave.So specifying a lower limit frequency limit of the pink quality of the noise would result in that boundary being set to the nearest octave, not precisely.